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Director Peter Bogdanovich leaves a classic legacy

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Director Peter Bogdanovich leaves a classic legacy

NEW YORK (EFE) .— Peter Bogdanovich, the filmmaker who died yesterday at his Los Angeles home at the age of 82, was one of the last of the most classic Hollywood directors and an avowed admirer of Orson Welles and Howard Hawks, who became over the course of the Famous in the 1970s only to become better known as a scientist, interviewer and film critic.

He had no qualms about saying that most of today’s cinema, with its accumulation of explosions, superheroes, and dying people, “sucks,” and it hasn’t been recognized as a box office and special effects obsessed system in today’s Hollywood … and forgotten what he defined as “the essential: the human being”.

In fact, he believed that creativity lately was easier to find on television than in the cinema, and perhaps this explains his intervention – in the role of a therapist of a therapist – in the mythical series “The Sopranos”, where he starred in fifteen chapters and directed one of them.

He celebrated his greatest successes at a young age with “The Last Picture Show”, “What’s going on, Doctor?” and “Luna de papel”, produced between 1971 and 1973.

After that, success was difficult to pin down, and not because it was cultivating a cult or elitist cinema: on the contrary, he believed there was nothing like success for a film and described “reverse snobbery” as directing directors who thought it was popular it to offer up for sale.

And despite these principles, his cinema has not won audience approval for decades; His biggest applause came at film festivals, to which he was regularly invited and where he was something of a nostalgic bearer.

If his cinema was erratic, he achieved greater unanimity with his facet of critic and scholar. Such was his passion for cinema that he once said that this was the way Jonh Ford had to stop him: “For God’s sake, Bogdanovich, are you ever going to stop asking questions?”

Bogdanovich, recognizable by his shell glasses, which gave him an intellectual charisma, was particularly interested in big films in order to draw deep and retrospective analyzes from them, which he later recorded in several books, the last of which was entitled “The Stars of Hollywood. Portraits and Conversations ”consisting of studying 25 great films and their relationship with the directors or actors of this golden age.

As the son of a Serb and Austrian who had emigrated to the United States, Bogdanovich spent a lonely and quiet childhood, and it was only at the age of 8 that he knew the reason for this oppressive family environment: he had had an older brother who, when he was a baby, was married Poured pot of boiling soup over him.

Even as a child the cinema was his outlet for him and he knew that in the end he would be part of the dream factory: “I wanted to be like the people on the screens,” he once told the Los Angeles Times wanted to be a real American boy and do these things, wonderful things. But with a surname like Bogdanovich, he didn’t have a lot of options. “

The dead brother’s was not the only tragedy in his life: when he was at the height of his career, he met the model Dorothy Stratten in the mansion of Hugh Hefner (editor and owner of Playboy), who fell in love with him and left him , her husband, as The New York Times recalls.

Bogdanovich gave her a small role in his film They All Laughed, but shortly before it was released in 1980, Dorothy’s abandoned husband went to see her, shot her, and then committed suicide, an event itself told in the film. Film “Star 80” by Bob Fosse.

With that cursed aura and name, it was hard for “Todos Laughed” to triumph, and indeed it was a failure of the audience and critics.



Reference from yucatan